I’m naturally attracted to dark and aggressive sounds, and I guess that’s why I wound up doing a lot of horror movies, because those sounds can work well in that context. That’s the kind of sound I was into before joining NIN, and I guess that’s why I was a good fit and why Trent wanted to bring me into his world for a while.
My scores for the Saw movies have a lot of sounds that have a more gritty, industrial edge than a traditional orchestral score would, with heavily processed guitars, circuit-bent keyboards, and stuff like that. Those years definitely widened the scope of what I thought possible, and since then I’ve been trying to use the techniques that I refined during my years of working with NIN in my scoring work. That was always my thinking too, but working with him really reinforced that for me. One thing that I took away from those years is that although Trent is obviously extremely talented and very knowledgeable about the technology, he’s not afraid to trust his ears and use crude or cheap tools if they sound interesting to him.
AUDIOFINDER VS MYRIAD SOFTWARE
We started with TurboSynth, then got into software like HyperPrism, AudioMulch and the first versions of Reaktor, which allowed us to really mess up sounds inside the computer – this was before the modern era of plugins, but some of those early software tools were really groundbreaking, and it was a great time to be involved in using that technology. That decade was when we started to see some of the early software processing tools. Between his setup, and all the guys in the band, it seemed like we had every synth and guitar pedal there was. Trent had one of the biggest setups around, with a big SSL 4K console, dual Studer 24-track machines, lots of high-end outboard gear and dozens of synths. NINspiration: My years with Nine Inch Nails were in a great decade in the record industry, the mid- to late-1990’s.
Miss this at your own risk.īig Premiere: I’ve been in this location since 2006, but in terms of workflow my setup is about the same as I’ve had since 2003 or so, other than the usual upgrades to computers and such. What is Clouser’s ingenious three-computer workflow? How does he take advantage of his space for homegrown reverbs? What is the tool he uses to take both hardware and software synths to the next level? Why do guitars matter so much in his sound design? How can cheap gear make your sound stand out? Just what is the TV-in-the-next-room technique? And what’s the most brutal part of Charlie Clouser’s job?Ībsolutely essential advice for any composer – or sonic adventurer – follows. But he’s not just resting on his laurels – he’s built up an arsenal of gear, instruments, and time-saving techniques that’s incredibly deep.
AUDIOFINDER VS MYRIAD TV
So you want it dark, otherworldly and done right? A lot of movies, TV series, and video games do, and considering his resume its no wonder Clouser frequently gets the first call. Clouser was keyboardist/programmer for Nine Inch Nails from 1994-2000, and contributed synth work and remixes to myriad other elites including Marilyn Manson, White Zombie, Prong, David Bowie, Snoop Dogg, Rammstein, Jamiroquai, Deftones, Killing Joke, Esthero, and Meat Beat Manifesto. While he currently spends his days and nights creating high-visibility soundtracks (the entire Saw series, Resident Evil: Extinction, “Numb3rs,” “American Horror Story”), he’s spent his time in the spotlight. Some composers live a career behind the scenes – Charlie Clouser is not one of them.
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